tue 04/11/2025

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

Giustino, Linbury Theatre review - a stylish account of a slight opera

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BBC Proms: Le Concert Spirituel, Niquet review - super-sized polyphonic rarities

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Faust, Royal Opera review - pure theatre in this solid revival

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Pygmalion, Early Opera Company, Curnyn, Middle Temple Hall review - Rameau magic outside the opera house

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Attacca Quartet, Kings Place review - bridging the centuries in sound

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The Marriage of Figaro, English National Opera review - long on laughs, short on kerb appeal

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La rondine, LSO, Pappano, Barbican review - sumptuous orchestral playing in an underrated score

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The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera house

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Kanneh-Mason, Sinfonia of London, Wilson, Barbican review - taking the roof off the Barbican

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Frang, LSO, Pappano, Barbican review - a concerto performance to treasure

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La traviata, Royal Opera review - a charismatic soprano in a serviceable revival

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Everest, Barbican review - a powerful operatic debut from Joby Talbot

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Werther, Royal Opera review - Kaufmann off form in this stiff revival

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Rigoletto, Opera Holland Park review - Verdi's Duke gets the Oxbridge treatment

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Il Trionfo del Tempo e del Disinganno, Academy of Ancient Music, Milton Court review - radiant and full of life

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Theodora, Arcangelo, Cohen, Barbican review - gloriously dark and sober

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Macbeth, RSC, Stratford review - Glaswegian gangs and ghouli...

It’s hard to pinpoint exactly what’s so very different about Belfast and Glasgow, both of which I have visited in the last few...

Sananda Maitreya, Town Hall, Birmingham review - 80s megasta...

During a false start to “Billy Don’t Fall”, on Sunday night at Birmingham’s iconic Town Hall, Sananda Maitreya took the opportunity to address the...

Mr Scorsese, Apple TV review - perfectly pitched documentary...

This five-parter by Rebecca Miller is essential viewing for any...

Madama Butterfly, Irish National Opera review - visual and v...

Emotional truth backed up by musical sophistication is what saves Puccini’s drama about a geisha deserted by an American officer from mawkishness...

Hallé John Adams festival, Bridgewater Hall / RNCM, Manchest...

Am I dreaming? Did I really see a living composer of...

'Vicious Delicious' is a tasty, burlesque-rockin...

Three of last year’s finest singles were by Luvcat, a classy-but-naughty Eartha Kitt-style bad girl steeped in burlesque-rock’n’roll spirit. In...

theartsdesk at Wexford Festival Opera 2025 - two strong prod...

A drawback of choosing relatively or very obscure operas, as they've been mostly doing in Wexford Festival since 1951, is that the audiences...

Bach's B minor Mass, Irish Baroque Orchestra, Whelan, C...

The greatest procession of mass movements ever composed merits the best line-up of soloists, both vocal and instrumental, as well as the perfect...

Kaploukhii, Greenwich Chamber Orchestra, Cutts, St James...

To St James’s Piccadilly to hear the young pianist Misha Kaploukhii give an impressive performance of Beethoven’s Fourth Piano Concerto,...